In 1914, as Europe slid inexorably towards war, the Royal Opera House's programme was reassuringly diverse: opera and ballet were staged alongside a range of other events including film shows, cabarets, lectures and dances.

A season of German opera in February and March, was notable for the first English performances of Wagner's Parsifal and Méhul's Joseph. On those Fridays when there was no opera performance the theatre opened at 11pm for lavish fancy dress balls.

The artistic focus on works from the continent continued from April until 28 July with a Royal Opera Season of French, Italian and German works. Even 100 years ago, Covent Garden was a major draw for the world's top operatic talent and Nellie Melba, Emmy Destinn, Enrico Caruso and Antonio Scotti all sang on stage here during this period. The Season opened with Puccini's La bohème,starring Melba as Mimi, and on 11 May a gala was held to mark the state visit of the King and Queen of Denmark, with the British Royal family also present. This performance was briefly and memorably interrupted by a suffragette who stood up and attempted to address King George V while a second began to distribute leaflets. Both were swiftly escorted from the building. Verdi's Aida was performed on the last night of the Season, the day on which the Austro-Hungarian Empire invaded Serbia, signalling the start of World War I.

When Britain entered the war, the Royal Opera House was requisitioned by the Ministry of Works, whose responsibilities included the conversion of buildings for wartime purposes. For much of the war, the theatre remained closed and was used as a furniture depository, though a small number of benefit performances took place in 1914, 1915 and 1916.

The Royal Opera House reopened as a full-time theatre in 1919 with a Grand Opera season in conjunction with Sir Thomas Beecham. The first performance saw Nellie Melba return as Mimi in Puccini’s La bohème, echoing the last Grand Opera Season before the War, almost exactly five years before.

Find out more about the ROH in wartime at our current exhibition in the Box Office Link, opposite the ROH Shop.

In this latest film, we look at the themes and plot of the original play with Christopher and theatre director Lucy Bailey, who directed an RSC production of The Winter’s Tale in 2013.

'It's a story of jealousy, comedy, great tragedy and redemption,' says Christopher.

'It's about sex, friendship, and a fall from grace - the darkness within that destroys the potential for a good life,' says Lucy. 'It's about class and the haves and the have-nots...It defies being put into one genre - it's a romance, a tragedy, a comedy, it's intensely poetic and spiritually enlightening. For me, that's why it's called a problem play but for me, it's not - it's one of Shakespeare's best.'

The story of The Winter's Tale follows the destruction of a marriage through consuming jealousy, the abandonment of a child and a seemingly hopeless love. Yet – the ending is one of forgiveness and reconciliation.

The ballet is staged with generous philanthropic support from The Monument Trust. Generous support is also offered by Mrs Susan A Olde OBE, the Metherell Family, Lady Ashcroft, Celia Blakey, Sarah and Lloyd Dorfman, Sir Simon and Lady Robertson, The Taylor Family Foundation, Mr and Mrs Edward Atkin CBE, Richard and Delia Baker, Kenneth and Susan Green, David Hancock, Randa Khoury, Lindsay and Sarah Tomlinson, Doug and Ceri King, Sir Roger and Lady Carr, The Winter’s Tale Production Syndicate and an anonymous donor.

Russian soprano Anna Netrebko has withdrawn from the role of Marguerite in Faustwith The Royal Opera in April 2014, which was to be her debut in the role.

In a statement issued by her spokesperson, Anna Netrebko said:

‘I am so sorry to have to withdraw from the role of Marguerite in Faust. After much consideration and intensive preparation, I have come to the conclusion that the role is not right for me. I had been very much looking forward to debuting this role at the Royal Opera House and following it with further performances in Vienna and Baden-Baden. Unfortunately, I must now withdraw from all these productions. I am very sad to be disappointing my fans in these cities and hope they will understand the difficult decision that I have had to make. However, I am very much looking forward to returning to The Royal Opera to perform with the Company again in 2015.’

Replacement casting for the role of Marguerite will be announced in due course.

Romanian baritone Sebastian Catana has withdrawn from the role of Scarpia in Tosca. The role will now be sung by Welsh bass-baritone Bryn Terfel on 16, 19 and 26 June; and Italian baritone Lucio Gallo on 21 June.

Bryn Terfel previously sang the role of Scarpia with The Royal Opera in Jonathan Kent’s production in 2006 and 2009. He has also sung the role for the Metropolitan Opera in New York, La Scala, Milan; in Munich and most recently in Berlin. He will also appear with The Royal Opera this Season as Méphistophélès in Faust.

Lucio Gallo previously sang the role of Scarpia for The Royal Opera in 2008 and has also sung the role in Berlin, Munich and Zurich. His most recent performances with The Royal Opera were as Iago in Otello, the title role in Gianni Schicchi and Michele in Il tabarro; all in the 2011/2012 Season.

Both Colin and Jonathan were selected from more than 100 applicants. ‘It was a challenging process', said Jonathan when discussing the experience with RNCM. 'I received a lot of help from the RNCM as I prepared for the audition, which helped enormously. The experience was fantastic, especially as I got to audition for Antonio Pappano in the final round. I’m thrilled to have been selected.’

Louise Sheaves has been a Joint Friend of Covent Garden with her husband since 2006. As Joint Friends, they receive priority booking, the opportunity to book tickets for dress rehearsals and backstage news and information.

Covent Garden regulars may recognize Louise as one of three supporters who have featured in our posters highlighting the support of the Friends of Covent Garden.

‘No matter how often I come to the Royal Opera House, and at times I have come very frequently indeed, it always feels like a special occasion,’ said Louise. ‘Being in the auditorium, surrounded by the beauty of the theatre and the anticipation and excitement of the audience, is wonderful.’

By being a Friend of Covent Garden, Louise is able to book tickets for performances ahead of general booking. She regularly brings friends and family with her so they can share the joy of live performance.

Louise will soon be coming to see The Sleeping Beauty on 15 March, where she is looking forward to seeing Lauren Cuthbertson and Rupert Pennefather dance together: ‘My daughter and I saw their debut together in Swan Lake back in 2007, so we love watching them dance together now. I’m so excited to see Lauren dance the Rose Adagio; it’s such an important moment for every dancer. And of course, Tchaikovsky’s music is just so beautiful.’

If you’re a Friend, what have been your highlights – on stage and off – of your involvement with the ROH?

Friends and Patrons of Covent Garden support our extraordinary performances, intricate craftsmanship and inspiring learning and participation projects by paying an annual membership fee and making donations. Find out more about becoming a Friend.

Please note: Since publishing this article, a cast change has been announced meaning that Lauren Cuthbertson and Rupert Pennefather will no longer be performing together on 15 March.

The Pop Up Festival, an event designed to inspire the next generation of story-makers, will take place in Thurrock on Saturday 3 May. From monster puppets to medieval games shows, the event will bring books to life in extraordinary ways, transforming the High House Production Park into an interactive playground of stories.

The festival, which is free to attend and open to all, is programmed by children’s writers, illustrators, poets and storytellers. Festival-goers can expect to see fantasy author Sarwat Chadda’s interpretations of classic myths (which are inspired by Marvel Comics) told through roaming performances and monster puppets; novelist Julia Golding’s Arthurian Pavilion, featuring medieval game shows, knights, minstrels and the legendary Round Table; and illustrator Jane Ray’s giant toy theatre constructions that tell tales of mermaids, firebirds and flying horses.

In preparation for the festival, Pop Up has been holding weekly workshops with members of the Thurrock community and the Royal Opera House Learning and Participation and Bridge teams. Attendees have been lending their painting, sewing, dying and making skills to help make imaginative worlds a reality and create immersive story experiences.

‘I love the fact that there are many different activities going on and you can dabble in as many or as few as you like. I have learnt many different new skills, especially relating to needlework,’ says workshop participant Jane Hainsborough. ‘Volunteers are encouraged to try their hand at new experiences being reassured that nothing will be wrong - creativity in its truest form! It's also great to see children and adults of all ages working together and enjoying the experience.’

Other highlights of the festival include a 1950s jazz joint that features cabaret, whacky cocktails and dressing-up; a pop-up art gallery where giant art-works by classic artists – co-created with children and parents – come to life; and an enormous mobile installation of an enchanted city, created on the day with hundreds of young people and families who attend the festival.

Pop Up takes place at the High House Production Park in Purfleet on Saturday 3 May 2014. All are welcome to attend this free event. Find out more.
The event is supported by Thurrock Borough Council.

‘The most beautiful [performance] is the most simple, the most natural, and the most human; but that takes a lot of strength and experience,’ John told presenter Suzy Klein of his approach to performance, during the interview that followed the session.

‘Nobody is perfect. Ideally you need to have perfect fluency in the language, a perfect vocal technique, a wonderful theatrical presence and acting ability, and great musicality with your ears wide open so that you’re not just singing notes – you’re singing notes which are in the chord. You have to tune into the chord in the orchestra. If you sing a B-flat, every B-flat is slightly different.’

John came from a musical family and realized very young that he was in possession of an incredible voice: ‘I was made aware of it by my school friends in assembly. We used to sing hymns in those days. Everybody looked and said, “My God, what is that noise!?”. I’m the youngest of five and they all sang at the piano every evening. I was the littlest, so I had to make a louder noise than everyone else!’

The bass also spoke of the importance of language coaching, particularly his idiomatic grasp of German, which has informed his acclaimed Wagner performances over the years, marrying to stunning effect with the composer’s musical intentions: ‘You’re learning all the time. It’s all about naturalness. Every vowel should be natural. Simplicity and purity are very important in the projection of the voice. If you’re not quite singing the right vowel it will be lost.’

John Tomlinson will perform in WNO’s Moses und Aron at Covent Garden on 25 and 26 July 2014. General booking opens on 8 April 2014.

Andrei Serban’s production of Puccini’s dark fairytale is one of The Royal Opera’s most spectacular productions; since its premiere at the Cultural Olympiad in Los Angeles in 1984, it has been performed almost 100 times. This release marks the first time the production has been available on DVD.

The DVD includes an introduction to Turandot, backstage films and a cast gallery.

Turandot is currently on the ROH main stage, and runs until 10 March. A limited number of tickets is available. Returns may become available, and 67 day tickets are released on the morning of each performance.